or one of the GUIs that are listed closer to the bottom of the page.
#MAC RAWDIGGER INSTALL#
To see the value of the tag for your camera, download and install the free command-line utility called exiftool /~phil/exiftool Saturation is caused either by the sensor itself becoming highly non-linear in response, or by the camera's analog to digital converter clipping." The DNG standard calls this value "White Level" and explains it this way: "This tag specifies the fully saturated encoding level for the raw sample values. Sometimes it is called "saturation", but it is a bit of misleading term, especially if ISO is raised. Thus it also exhibits magenta highlights.Ĭan you please explain what do you mean for "calibration, maximum, tag reads"? Is there a procedure I have to do?ĭigital cameras have the maximum raw value that can be reached (highlights). On one of the samples I have the real maximum is 26193, while the tag reads 27580. Iliah Borg wrote:The problem is most probably the calibration. Film mode allows a LOT of the overexposure to be tamed down during the color correction pass. All shooting used Film Color Space, which, with the last Final Cut X upgrade, is EXTREMELY simple to process, as the conversion is built in. Because it has a bulging front lens, it will take a unique little rig to get the variable ND on it. Its shortcoming is that it has a limited f/stop range, stopping at f/11. The Kowa, a one inch sensor format lens from the machine vision world (where most camera sensors come from) is spectacular. The shooting was with a Metabones speed booster on a 17-35 Nikkor and a decent variable ND filter at ISO 800, and when darkness allowed, a Kowa 6mm f/1.8 via a Metabones C to M43 mount. When the show is done with scoring and final color work, you will be able to find it on YouTube titled "Cross Country at 14,000 MPH." I don't really see any magenta in the blown out highlights. I just reviewed five days' worth of footage shot with my Pocket Cinema Camera with loads of overexposure, as when shooting a trip due west from Florida to California on the I-10, shooting the sun is inevitable.
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